The public will soon have the opportunity to experience the vulnerability and awe of briefly inhabiting an animal domain at the “Reverse Zoo,” LABIOMISTA. Translating to “mixture of life,” the 60-acre project is spearheaded by Belgian artist Koen Vanmechelen and is set to open in 2019.
Indian design and fabrication studio, MuseLAB creates customized furniture and products. Their 2017 creations include to-scale miniature architectural wall hooks. These functional household items were inspired by the works of Oscar Niemeyer, Le Corbusier, Charles Correa, Michael Graves, and others.
Despite what you may think, Thom Mayne isn't the "bad boy" of architecture - at least, not according to Thom Mayne. He sees himself more as a skilled negotiator than a starchitect (a phrase he hates) - after all, he reasons, how else would he have completed so many buildings? In this interview, originally published on Metropolis Magazine's Point of View blog as "Q&A: Thom Mayne," Andrew Caruso and Mayne discuss Morphosis, SCI-ARC, the early days of his career, and his architectural ethos.
Andrew Caruso: Your professional career began in the discipline of planning. What led to the shift toward architecture and your eventual partnership with Jim Stafford?
Thom Mayne: I started working at the Pasadena redevelopment agency doing low cost housing, and that’s where I met Jim [Stafford]. Coming out of USC, I had no background about Mies, Khan or Corbusier, for example. USC was very strong in being anti-historical, looking forward instead of backward. I was essentially naive.
Jim was a year ahead of me at USC and had part of the older regime at the school. When I met him at the planning agency, he started introducing me to history. I got fascinated by [Paul] Rudolph; and then it just took off. Jim guided me through this thought process, reestablishing me in the tradition of architecture.
Many would consider Greg Lynn the leader of computer-aided design in architecture - but Lynn himself begs to differ. He and the Canadian Centre for Architecture recently collaborated on "Archaeology of the Digital," the first in a series of exhibitions that will showcase the work of the earliest adopters of digital techniques in architecture. The exhibit, which opened on May 7, focuses on work by Frank Gehry, Peter Eisenman, Chuck Hoberman, and Shoei Yoh. In this interview, originally published in Metropolis Magazine as "Computer Control," Avinash Rajagopal speaks with Greg Lynn about some of the projects and the inspiration behind the exhibit itself.
SCI-Arc graduate Harris Silver has shared his experience passing through the Kalandia Checkpoint during his quest for "an uncanny truth" that would lead him to develop an architecture project in the city of Jerusalem.
The Kalandia Checkpoint is an opening in what Israel calls "The Security Fence" and what Palestinians call "The Apartheid Wall". Regardless of what you call the separation infrastructure, the checkpoint acts a modern gate to the city of Jerusalem.
After experiencing Kalendia first hand, I came away realizing that until I personally walked through the checkpoint, I was ignorant of the mechanism and tactics employed to humiliate and dehumanize everyone who passes through it. Which means I was not fully capable of participating in the Israeli-Palestinian discourse.
Continue reading for the full Op-Ed.